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PostPosted: Tue Mar 14, 2017 3:22 pm 
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Finally.

Importantly, all of the footage is now in Los Angeles and all of it will be scanned in 4K. A sweet deal that doesn't impose a release date; Welles was never this lucky in his lifetime (well, not after Kane anyway).


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PostPosted: Tue Mar 14, 2017 3:44 pm 
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Amazing - although as ever with this seemingly cursed film, I won't quite believe it until I see it.


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PostPosted: Tue Mar 14, 2017 4:11 pm 

Joined: Sun Oct 14, 2007 5:31 am
did any backers actually pay for the 35mm print perk? God, I want to see this in celluloid so badly.


I honestly hope they make 2 cuts of the film-a documentary that acknowledges its unfinished status and an approximation of what Welles wanted. That's the only way to satisfy the purists. Plus access to the rough cut that was schlepped around after Welles' death, and which was seen by George Lucas and Clint Eastwood.


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PostPosted: Tue Mar 14, 2017 4:43 pm 
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From the Wellesnet coverage of this story:

The agreement calls for producers to deliver to Netflix, among other elements, a 35mm print of the completed film, which leaves the door open to some type of theatrical release.


I feel pretty certain there will be a documentary of some kind associated with the release.


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PostPosted: Tue Mar 14, 2017 5:50 pm 
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Just got the email and came here. The fact that the film is actually in LA is the biggest piece of news, IMO. That always seemed to be the primary hurdle.


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PostPosted: Tue Mar 14, 2017 6:34 pm 
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When the film is completely scanned and duplicated on drives, I'll feel better.


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PostPosted: Tue Mar 14, 2017 10:51 pm 
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Quote:
35mm print of the completed film, which leaves the door open to some type of theatrical release.


I should note that a 35mm print is hardly necessary for theatrical distribution these days. This thing could exist only in the digital domain and still get a high-profile theatrical rollout.


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PostPosted: Tue Mar 14, 2017 11:17 pm 
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whaleallright wrote:
Quote:
35mm print of the completed film, which leaves the door open to some type of theatrical release.


I should note that a 35mm print is hardly necessary for theatrical distribution these days. This thing could exist only in the digital domain and still get a high-profile theatrical rollout.

With the way modern theaters are designed (including cinematheques and art houses), you can ONLY get a high-profiled roll out if this is digital. Most theaters tossed out their old 35mm projectors or prefer playing DCP. There's no way in hell they are going to make a 35mm tour. They might make one for archival reasons, but I can't see them touring a print.


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PostPosted: Wed Mar 15, 2017 8:21 am 
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I posted that quote from the Wellesnet story only because "beamish13" had asked about the "35mm print" perk offered as part of the Indiegogo fundraiser. It's likely the requested 35mm print is for archival purposes and has no bearing on theatrical showings (I believe 35mm is still considered a safer bet to preserve a film long-term than a digital file that can become corrupted or unplayable over time).

And, yes, the fact that the footage is in Los Angeles being scanned is a very big deal. Not once during all of the previous negotiations over the past thirty years or so have the negatives left the Paris lab where they have been stored since 1976.


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PostPosted: Wed Mar 15, 2017 8:51 am 
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The Elegant Dandy Fop wrote:
whaleallright wrote:
Quote:
35mm print of the completed film, which leaves the door open to some type of theatrical release.


I should note that a 35mm print is hardly necessary for theatrical distribution these days. This thing could exist only in the digital domain and still get a high-profile theatrical rollout.

With the way modern theaters are designed (including cinematheques and art houses), you can ONLY get a high-profiled roll out if this is digital. Most theaters tossed out their old 35mm projectors or prefer playing DCP. There's no way in hell they are going to make a 35mm tour. They might make one for archival reasons, but I can't see them touring a print.
The Film Forum in NYC still can play and has played 35mm prints. Bruce Goldstein likes to show films in this format when he can. He says it's getting harder and harder to find prints to play, though.

It sounds like there won't be a physical media release. Unless, sometimes down the road after it's been streaming for a while.


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PostPosted: Wed Mar 15, 2017 10:55 am 

Joined: Sun Oct 14, 2007 5:31 am
Too Late (2015) with John Hawkes was theatrically distributed solely in 35mm. Striking prints would be a prudent move, as many venues in metropolitan areas will exhibit it, and they can subsequently be deposited at the Academy Film Archive or other film preservation facilities.


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PostPosted: Wed Mar 15, 2017 11:39 am 
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I imagine prints will be struck but the theatrical tour will largely be DCP. Restorations of L'Avventura, Badlands, and other films playing at FF have played in newly struck 35mm prints from 4k restorations.


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PostPosted: Wed Mar 15, 2017 12:34 pm 
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FrauBlucher wrote:
It sounds like there won't be a physical media release. Unless, sometimes down the road after it's been streaming for a while.


Those that bought BD/DVD perks through the IndieGogo campaign will still get one, but it seems like a physical release for non-funders is not in the cards for at least some time.


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PostPosted: Wed Mar 15, 2017 11:20 pm 
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Of course there are lots of venues that can still play 35mm; I was just noting that striking a 35mm print has no practical bearing on whether the film will get a theatrical release as was implied above. An interesting point, though, is that the reconstructed (or rather, simply constructed) Other Side of the Wind will be a digital project. The film has never properly existed before, in any medium (except perhaps for the medium of Orson Welles's grey matter). So any 35mm print that results will be, like most films released in that format today, a hybrid product.

As to home video, I'm sure the stakeholders will find every possible way to monetize this project, sooner or later.


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PostPosted: Fri Mar 17, 2017 1:14 am 
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Netflix video about the project here.


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PostPosted: Fri Mar 17, 2017 5:30 pm 

Joined: Wed Jul 20, 2011 12:06 am
Glad they put that out... I made inquiries about press coverage with them today and got shot down.


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PostPosted: Sat Mar 18, 2017 11:50 am 
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Since this is a new film, it will be eligible for Oscars. How wild would it be for Welles to finally win Best Director decades after his death?


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PostPosted: Sat Mar 18, 2017 2:57 pm 
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domino harvey wrote:
Since this is a new film, it will be eligible for Oscars. How wild would it be for Welles to finally win Best Director decades after his death?
just a note from within he industry, this was the immediate and only topic of conversation at my office when the news broke: Netflix wants an oscar and at the very least they want Orson Welles to get one. Thats the only/main reason they wrote a blank check for the project.

The next topic of conversation was about who gets to edit it followed by a discussion of the editing in chimes at midnight.

4K scans means they can print back directly to an inter negative and or preservation negative quite easily both graded and ungraded. And yes it's the best long term archival medium and most insurance companies require film elements as part of your final deliverables for that reason (and you can't make a financed movie without insurance). A friend at lions gate was complaining of how much money they have to spend on separation masters insurance requires them to produce even though everything is digitally acquired.


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PostPosted: Fri Sep 15, 2017 7:26 pm 
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Orson Welles’ ‘The Other Side of the Wind’ negative scanned, editing next


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PostPosted: Wed Nov 08, 2017 4:35 pm 
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The post production team in place.


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PostPosted: Wed Nov 08, 2017 4:52 pm 
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It feels off that they'd get people who are known for big-budget action spectacles like the James Bond and Spider-Man films. I would've gone after an editor who worked in more avant-garde films or documentaries, and maybe someone that worked with David Lynch on his sound designs, but whatever.


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PostPosted: Wed Nov 08, 2017 4:57 pm 
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Academy Award winner Bob Murawski (The Hurt Locker) is editing the movie
Can't wait for the Grindhouse Pictures blu-ray


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PostPosted: Wed Nov 08, 2017 5:04 pm 
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I wonder if the prints will all be orange and teal! Welles was such a pioneer.


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PostPosted: Wed Nov 08, 2017 5:56 pm 
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Is it at all possible Welles had notes on how he wanted it put together? I would imagine Peter Bogdonavich wouldn't let it turn into a Michael Bay-esque hack job.


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PostPosted: Wed Nov 08, 2017 6:01 pm 
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Big Ben wrote:
Is it at all possible Welles had notes on how he wanted it put together? I would imagine Peter Bogdonavich wouldn't let it turn into a Michael Bay-esque hack job.

He had notes, but even the most detailed notes will take you so far. Given how much footage was shot and how much was left unedited, they'll still need a good editor to put it together. Alfonso Gonçalves would've been perfect - he's great at structuring, and supposedly he was very instrumental in turning the mountain of footage that became Beasts of the Southern Wild into a very tight and very coherent film.


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